The Price of Thomas Scott Program

PRODUCING ARTISTIC DIRECTOR

JONATHAN BANK

MintTheater.org

Join Us After The Show And Present this Program For a Complimentary Glass of Wine when you order an entree in The West Bank Cafe Visit Our Website for More Information and Schedule of Shows 407 W 42nd St. 212.695.6909 www.westbankcafe.com

MINT THEATER COMPANY Jonathan Bank, Producing Artistic Director presents

with

DONALD CORREN, ANDREW FALLAIZE, EMMA GEER, JOSH GOULDING MITCH GREENBERG, NICK LAMEDICA, JAY RUSSELL, TRACY SALLOWS MARK KENNETH SMALTZ, AYANA WORKMAN, ARIELLE YODER

S ets VICK I R. DAVIS

C o s tu m e s H U N T ER KA C Z O R O WS K I

Ca st ing STE P HA NIE KLAPPER, C SA P rod u ctio n M anage r ROB R EESE

P ro p s CHRIS FIELDS

L i g h ts CHRISTIAN DEANGELIS

C h o re o g ra p h y TRACY BERSLEY

P ro d u c ti o n S ta g e Ma n a g e r JE F F ME Y E R S

I llu stra tio n G r ap h i c s A d v e rti s i n g & Ma rk e ti n g STEFA NO IMBERT H EY J UD E DE S I G N , I N C .

THE PEKOE GROUP

Sound & Musical Arrangements J A N E S H AW Dialects & Dramaturgy AMY STOLLER Stage Manager KR IST I H ESS Publicity D AV I D G E R S T E N & A S S O C I AT E S

Directed by

JONATHAN BANK

Nonprofit Building for the Arts presents vibrant arts initiative THE PRICE OF THOMAS SCOTT is supported in part by:

neighborhoods in New York and other U.S. cities, making it po Royal Little Family Foundation places to achieve their greatest potential.

New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, and with Theatre Row serves as an affordable home in the heart of the public funds from the New York City Department of Cultural Affairs in partnership with the City Council. performing arts organizations and a lively, accessible venue fo

Over 165,000 patrons come to Theatre Row each year.

Building for the Arts’ other signature project—Music and the B

director’s note In The Price of Thomas Scott Elizabeth Baker has written a play that poses big questions: “What is the difference between a good strong prejudice and a conviction?”

Can a conscience be overindulged, or spoilt?

When is thinking of your family “a nice excuse”?

“If a man can reconcile his actions with his conscience,” does anyone have a right to question him?

“How far should conscience take you?”

If Baker leaves us to answer these questions for ourselves, there may be good reason for it.

We know very little about Baker’s early life. During the brief time she was in the spotlight (1909-10) newspaper articles focused on her sudden, startling arrival on the theatrical scene. I’m not sure how many reporters ever spoke with her. Years later, in 1927, when her comedy Bert’s Girl was playing, the London Weekly ran a 500-word piece and for the first time we learned that Baker herself grew up in a strictly religious home. Baker’s parents were Nonconformist (Protestants who were not Church of England), like the household she depicts in The Price of Thomas Scott. She never read plays nor was she taken to the theater—her family considered it immoral, just as Thomas Scott does.

Baker’s first theatergoing experience came when she was nearly 30 years old. She was single, living at home and working as a typist. Despite the religious beliefs of her parents, Baker decided to find out for herself—venturing out to the Royal Court Theatre in 1905, when Harley Granville-Barker was in charge, putting on his own plays, and those of St. John Hankin, Arthur Schnitzler, Shaw and others. What a glorious introduction to the theater! I can’t help wondering if Baker’s family dinner table conversation from those days didn’t make it into The Price of Thomas Scott.

“But, Mr. Scott, the theatre isn’t what you think it. Have you ever been, now?”

“No, and never mean to, either. I can read about it, and I know what people have told me. It holds out temptation to the weak, and it is the duty of the Church to strengthen—” This is pure speculation of course, but it informed my understanding of the play. In The Price of Thomas Scott, Baker gives voice to the questions and feelings that may have been unresolved at the time she wrote it. You may find yourself unsure of what Baker wants you to think at the end of the day. I believe that’s exactly what she intended.

-Jonathan Bank

Characters Thomas Scott, General Draper................................................................... Donald Corren Ellen Scott, his Wife.....................................................................................Tracy Sallows Annie Scott, his Daughter..............................................................................Emma Geer Leonard Scott, his Son............................................................................. Nick LaMedica George Rufford, Neighbor..............................................................Mark Kenneth Smaltz Tewkesbury, Neighbor...................................................................................... Jay Russell Johnny Tite, Scott’s Lodger....................................................................... Andrew Fallaize Hartley Peters, a Friend of Tite’s................................................................ Josh Goulding* Wicksteed, of the Courtney Company......................................................Mitch Greenberg May Rufford.......................................................................................... Ayana Workman Lucy Griffin................................................................................................ Arielle Yoder Back parlour of Thomas Scott’s shop.

The action lasts over two days.

Donald Corren

Andrew Fallaize

Emma Geer

Josh Goulding

Mitch Greenberg

Nick LaMedica

Jay Russell

Tracy Sallows

Mark Kenneth Smaltz

Ayana Workman

Arielle Yoder

*Josh Goulding is appearing with the permission of Actors’ Equity Association.

dramaturgical note

Introducing Elizabeth Baker

By Maya Cantu Vaulting from office typist to “one of the most widely discussed playwrights in England” (The Christian Science Monitor), Elizabeth Baker (1876-1962) startled her contemporaries with the realist landmark Chains (1909).

In this and the twelve produced plays that followed, Baker focused attention on the lives of London’s clerks, shopgirls, and suburban strivers. Marked by their wit, originality, and “uncompromising truth of treatment” (The Era), Baker’s works explore the constraints of class, gender and social convention upon individual agency. At the same time, her plays assert the ambitions and desires of working women, while reflecting the playwright’s driving sense of wanderlust.

Born Gertrude Elizabeth Baker in Paddington, London on August 20th, 1876, the playwright grew up in a religious lowermiddle-class family. Her mother, Elizabeth Reavall, came from a family with roots in the Nonconformist Congregational church. When Baker was an infant, her father, draper John Alexander Baker, died, leaving her widowed mother to find work as a shop assistant in Bishop’s Stortford, Hertfordshire. After remarrying master draper George Robert Collett, Reavell assumed a new role running her second husband’s west London shop. The family worked hard and shunned the theater, while Baker wrote stories and “little things”1 in her spare time.

As the “New Woman” charged into the twentieth century, Baker launched into the work force. Having worked as an assistant in her family’s drapery shop since the age of fourteen, Baker found employment as a London shorthand clerk and typist, commuting into the city from her family’s suburban home in Bedford Park. Baker also started to break away from Nonconformist anti-theatricality, embracing the social nonconformism of realist drama. From 1904 to 1907, Harley Granville-Barker and J.E. Vedrenne presented three innovative seasons at the Court Theatre, including eleven plays by George Bernard Shaw. As The London Weekly

observed of Baker, “She started going to the theater during Granville-Barker’s tenancy at the Court, and was so much inspired by the productions there that she attempted to write a play herself.”

Baker submitted her completed play to the independent stage society, the Play Actors— and caused a sensation. First presented for a single performance at the Court Theatre on April 18, 1909, Chains gave unprecedented voice to the modern clerical class, with its focus on characters longing to break away from routines of work and marriage. The play skillfully paralleled the stories of clerk Charley Wilson, contemplating emigration to Australia, with his rebellious sister-inlaw Maggie, resolving to escape a loveless engagement. Critics received the play rapturously. The reviewer for The New Age compared the unknown stenographer favorably to Shaw, while hailing her as a “new playwright of unmistakable dramatic genius.” The critic called Chains “at once the most brilliant and the deepest problem play by a modern British writer that I have seen since Major Barbara.”

Chains’ resounding success reached producer Charles Frohman. Although Baker—still bound to her office work—could only attend rehearsals during her lunch hour, the American impresario included Chains in his 1910 season of London repertory at the Duke of York’s Theatre, in a program that also included works by Shaw, Galsworthy, and GranvilleBarker (with The Madras House). Again, the production drew raves. The Bystander called Chains “one of the greatest plays that has been produced in this country for many a long day,” while adding, “Suffragists will be delighted to note that it has been written by—a woman.”

If Chains was hailed as a “masterpiece” by some critics, others marveled at the inexperience of “Miss Baker”—and focused scrutiny on the playwright’s personal appearance and station.

Although Baker was thirty-two-years old when the Play Actors premiered Chains, many reviews referred to her as “a young girl,” “a girl clerk,” and a “girl-novice.” When Baker appeared to tumultuous applause at Chains’ opening night, The Sun’s critic reported:

dramaturgical note At the end of the play…in answer to repeated calls, stepped upon the stage a little, shrinking, timid woman, very pale of face and with distended, fear-filled eyes.

She wore an ill-fitting, tasteless gown, obviously homemade, and in herself was the prototype of all she had written about in her play— drudgery…and the monotony of a life ugly and colorless. To the credit of the audience, it could be said they cheered her to the end.

Baker’s next plays focused upon working women’s economic vulnerabilities and struggles for emancipation. She followed her “very powerfully written”2 1910 one-act Miss Tassey, produced at the Court Theatre, with the

one-act feminist comedy Edith (both will be presented at the Mint as a Further Reading on March 3, 2019). Written in 1912 for a Women’s Writer’s Suffrage League matinee, Edith showed “in a humorous and clever way the admirable aptitude of a trained business woman to deal with a situation usually considered the province of man.”3 Baker, meanwhile, persisted as a typist. The New Rochelle Pioneer reported, “Chains made a great sensation and not a little money for its author, but Miss Baker continued and still continues in her position as a public stenographer.”

Baker followed these plays with a versatile range of work at England’s innovative repertory theaters. In 1913, Annie Horniman produced Baker’s The Price of Thomas Scott at her Gaiety Theatre, Manchester, with Sybil Thorndike playing Annie. The Era called the

Meet Miss Baker MEET MISS BAKER is Mint Theater Company’s most ambitious undertaking since the Teresa Deevy Project, which began in 2010 and to date has included four full productions and publication of two books. MEET MISS BAKER will bring new attention to the work of another long forgotten, outrageously talented woman writer, Elizabeth Baker.

Following The Price of Thomas Scott, Mint will offer productions of two Baker plays: her surprising comedy Partnership, about an ambitious professional woman who receives a tempting business proposition, and her claim to fame, Chains.

Over the next few years, Mint will offer readings of many of her other plays, beginning this March with two of Baker’s best one-act plays:

EDITH and MISS TASSEY Sunday, March 3 at 7pm Theatre Row, 410 West 42nd Street

Miss Tassey and Edith are both short plays about working women, representing opposite ends of the spectrum. In Edith, we meet a remarkable successful business woman, who astonishes her family with her capacity, acumen and accomplishment. Miss Tassey is a less happy tale, about a store clerk and the women she shares a room with, back in the day when workers in England “lived-in.”

Tickets: $25 Call 212-315-9434 to purchase your tickets Special Thanks to The Royal Little Family Foundation for their generous multi-year support of MEET MISS BAKER. To learn how you can support this ambitious project, please call 212.315.9434 and ask for Rebecca Robertson.

dramaturgical note play a “delightful piece of realistic drama,” while The Guardian praised Baker’s nondidactic approach, which left “the audience to draw what conclusions they liked from what was before them.” In 1915, Barry Jackson’s Birmingham Repertory Theatre started a series of Baker productions with Over a Garden Wall; two years later, J.T. Grein produced Partnership at the Court. Baker’s scintillating comedy followed Maisie Glow, a shrewd Brighton shopkeeper who calculates joining marriage and business. Long independent, the playwright entered into her own romantic partnership in 1915. At the age of thirty-nine, Baker married James Edmund Allaway, a widower who worked in the upholstery trade, and the father of two adult daughters, Elsie and Maude.

Despite Baker’s repertory productions, London success proved frustratingly elusive.

Echoing themes in Chains, Baker set off for the Pacific island of Rarotonga in January of 1922. As she confided to The London Weekly in 1927: “It is so difficult to get a play produced in London that I ran away to the South Seas for eighteen months and lived in a hut there with my husband…in the Cook Islands….

It was very lovely, and we enjoyed it, but after a time we felt very lonely and longed to be back. I wrote a play while I was there.”

The play, later titled Bert’s Girl, premiered in Australia at the Sydney Repertory Theatre Society in 1923. Produced again in 1927 by Birmingham Repertory Theatre at the Court Theatre, Baker’s gothic satire concerned a naïve young woman pulled between the wills of her Cockney fiancé and a misanthropic eugenicist.

The production created controversy. While some critics accused Baker of “cruel” social caricature, others admired the play, with The Spectator opining that Baker had come close to writing “a masterpiece of irony.” However, the production was a commercial failure.

Baker faced declining production prospects in the early 1930s. Her final produced new plays were Penelope Forgives (1930), a problem play about the economic perils confronting divorced women, and One of the Spicers (1932).

In the latter one-act comedy, young Irene

Spicer expresses her desire to “go into the wide world” like her mother’s globe-trotting old flame, whom she uncannily resembles.

Baker herself remained closer to home.

Following the death of her husband in 1941, Baker relocated from Bedford Park to Bishop’s Stortford, where she lived with a stepsister.

Baker’s later years brought a small measure of renewed recognition. Between 1959 and 1961, ITV Television Playhouse produced adaptations of Chains, Miss Robinson, Over a Garden Wall, and The Price of Thomas Scott (retitled Paris Round the Corner). The Daily Mirror identified Baker as “Mrs. Gertrude Allaway, an eighty-four-year old widow.” The paper quoted her: “It’s a wonderful experience at my age to see one’s work coming to life again and reaching a vast new audience.” Baker died on March 8, 1962, at the age of eightyfive.

Restlessly risk-taking, Baker reflected her adventurous life in a versatile body of work, ranging from the realism of Chains to her later romantic comedies and satires. Her plays vividly dramatize the tensions between characters’ desires to travel toward new horizons, and their obligations to keep rooted in familiar places and familial bonds. Above all, her plays explore the distinct challenges faced by women in defying social routine and economic dependence, as characters pursue self-definition against expectations of marriage, class, religion, and labor. Praised by Rudolf Weiss as an “authentic social critic of early twentieth-century England,”4 the plays of “Miss Baker” project the timely and original voice of the independent woman who wrote them.

With special thanks to Maggie B. Gale, University of Manchester 1. “Girl Typewriter Author of Play,” The Buffalo Sunday Morning News, May 2, 1909, pg. 3.

2. “Court Theatre,” The Globe, March 21, 1910.

3. “Plays and Propaganda,” The Vote, February 17, 1912, pg.

200.

4. Weiss, Dr. Rudolf, “Versions of Emancipation: The Dramatic World of Elizabeth Baker,” Sprachkunst Vol. 20, 1989, pg. 315.

The Price DONALD CORREN (Thomas Scott) originated the role of Cosmé McMoon in the original Broadway production of Souvenir, and replaced Harvey Fierstein in the original Broadway production of Torch Song Trilogy, for which he won the San Francisco and Los Angeles Drama Critics Circle Awards while on tour. He has appeared frequently Off-Broadway (Balls, The Fantasticks, Old Jews Telling Jokes, The Soap Myth, The Last Sunday in June, Stephen Sondheim’s Saturday Night, Tomfoolery), and played leading roles at regional theatres across the country, most recently Fagin in Goodspeed Musicals’ 2018 production of Oliver! Television appearances include nine seasons on NBC’s ‘Law & Order’, and two on Syfi’s ‘Z NATION’. Training: Juilliard. www.donaldcorren.com ANDREW FALLAIZE (Johnny Tite) Andrew is a British actor living in New York City.

He is thrilled to be returning for his second appearance at the wonderful Mint Theater. His previous show was A. A. Milne’s The Lucky One in 2017. US Theatre includes: Miss Bennet: Christmas at Pemberley (Cincinnati Playhouse in the park) Cornelius (59e59); Hamlet (Notre Dame Shakespeare and national tour).

UK Theatre includes: House/Garden (Royal National Theatre); The Prince of Homburg (RSC, Lyric Hammersmith); Original Sin (Sheffield Crucible); King Lear (English Touring Theatre); A Midsummer Night’s Dream (Colchester Mercury); Venice Preserved, Anatol, The Spanish Tragedy (Arcola Theatre); Cornelius, Men Without Shadows (Finborough Theatre). FILM/ TV: ‘Gotham’, ‘Revealing Mr. Maugham’, ‘The Death Waltz’. Andrew is a voiceover artist and audiobook narrator and appeared often on BBC Radio in the UK. EMMA GEER (Annie Scott) Off Broadway: Mary Page Marlowe (Second Stage); Hindle Wakes (Mint Theater Company); How To Transcend a Happy Marriage (Lincoln Center Theater); Where Has Tommy Flowers Gone (Workshop Theater). Regional: 4,000 Miles (Shakespeare & Company); Up the Hill (The O’Neill). Film: ‘In The Treetops’ ( LA Film Festival). TV: ‘Elementary’. UNCSA, 2016.

Website: emma-geer.com

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JOSH GOULDING (Hartley Peters) is a British actor and theatre maker based in New York City. Recent theatrical endeavors include being seen in Trainspotting Live! Off-Broadway and working as the 2017-18 Literary Fellow at the Signature Theatre. He holds an MFA in dramaturgy from the Yale School of Drama and would like to thank his family & friends for their continuing support. Also thanks Mint Theater! www.joshgoulding.com.

MITCH GREENBERG (Wickstead) studied with Sanford Meisner, Uta Hagen and William Esper. Recent Broadway: It Shoulda Been You and Fiddler… (2015). B’way debut: Hollywood / Ukraine (‘Groucho’). Also: Laughter on the 23rd Floor (Neilman Award), Ain’t Broadway Grand, Threepenny Opera, Into The Light, Marilyn…, Yiddle with A Fiddle (Carbonell Award), Whodunnit and Can-Can. Recent engagements: Rags, Wiesenthal (Theater Row), Freud’s Last Session, …Anne Frank, Sunset Blvd., Brighton Beach / Broadway Bound. Off-Broadway: …Harvey Milk, Donogoo (Mint Theater), Right Kind of People, Sherlock Holmes, Old Wicked Songs, Baker’s Wife and Crazy Mary. Highlights elsewhere: Snapshots, Beau Jest, The Chosen, “Art”, My Fair Lady, Talley’s Folly, Two for The Seesaw, You Never Know, A Funny Thing..., The Cocoanuts (Helen Hayes Award nominee), The Good Doctor and Run For Your Wife! Mitch acted and sang in Novel Romance, in Yiddish, which he doesn’t speak! Songwriter, cruciverbalist, doting dad and “certifiable genius” (NY Times).

NICK LAMEDICA (Leonard Scott) is excited to be making his Off-Broadway Debut with Mint Theater Company! Recent favorite credits include the regional premiere of The Curious Incident of the Dog in the Night-time (Repertory Theatre of St. Louis/Cincinnati Playhouse in the Park) Hand to God (City Theatre Company/Theaterworks Hartford), How I Learned to Drive (Cleveland Playhouse/Syracuse Stage), War Horse (1st National Tour & Tokyo), As You Like It (Denver Center), Benediction (world premiere, Denver Center), and Much Ado About Nothing (Two River Theatre). He has appeared on television in ‘Mysteries at the Museum’ and projects for Hasbro, Krispy Kreme, Microsoft, and Planned Parenthood. Nick is a graduate

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of Marymount Manhattan College’s BFA Acting and Musical Theatre programs and a proud member of Actors’ Equity Association. He is represented by the fantastic team at BWA. NickLaMedica.com.

JAY RUSSELL (Tewkesbury) Broadway: End of the Rainbow, The Play What I Wrote. OffBroadway: Summer & Smoke, Come Back Little Sheba (Transport Group); Our Town (Barrow Street); Travels with my Aunt (Keen Company); The Normal Heart (Public); Around the World in 80 Days (Irish Rep). National Tours: Wicked (Dr. Dillamond) & Beauty & the Beast (Lumiere). Film/TV: Gotham, Seven Seconds, Louie, Ugly Betty, Boardwalk Empire, Sopranos, Law & Order(s), Morning Glory, Ride, In Lieu of Flowers. Some favorite roles include Lemml in Indecent, Sam in Fully Committed, Oscar Wilde in Gross Indecency, Abraham Lincoln in Paula Vogel’s A Civil War Christmas, Bottom in A Midsummer Night’s Dream, Buddy in City of Angels, & Malvolio in Twelfth Night. Jay has performed leading roles at the Guthrie, St. Louis Repertory, Long Wharf, Utah Shakespeare, Alabama Shakespeare, Goodspeed, PaperMill, Westport, Actors Theatre of Louisville, Baltimore CentreStage, Cincinnati Playhouse, English Theatre’s of Vienna and Frankfurt, & more. Recent: Writer/Director of the short film: ‘ruok’. www.jay-russell.com

TRACY SALLOWS (Ellen Scott) Broadway: The Audience, Romeo and Juliet, Angels In America, Shimada, The Miser and You Never Can Tell. The MET: Die Fledermaus.

Off Broadway: Pushkin, The Dressmaker’s Secret (59E59), The Shaggs (NYMF), Moving Bodies(EST), The Countess, The Wax, The Book of Wren and Aristocrats(MTC). Regional: Leading roles at The Guthrie, The Alley, A.R.T., Yale Rep., The McCarter, Hartford Stage, Seattle Rep., N.J.S.F. and many others. Lots of ‘Law & Order’ and Independent films. Tracy had a recurring role as “Mrs. Kathryn Bader” in the HBO series ‘Boardwalk Empire’ and was recently seen in ‘Unforgettable’, ‘Blue Bloods’ and TNT’s ‘The Alienist’. Tracy is a member of the BMI/Lehman Engel Advanced Musical Theatre Workshop where she wrote the book, music and lyrics to CURIOUS & RARE, a musical about paleontologist Mary

Anning. Tracy is a proud member of AEA, SAG-AFTRA and the Dramatists Guild.

More at www.tracysallows.com.

MARK KENNETH SMALTZ (George Rufford) has worked on Broadway, Off-Broadway, Regional Theatre, Television and Film. Mr. Smaltz was recently seen at The Cherry Lane in If Only with Melissa Gilbert. Mr. Smaltz has worked with such directors as; Joanne Atkelitis, John Barton, Martin Charnin, Liz Diamond, David Esbjornson, Adrian Hall, Arthur Hiller, Doug Hughes, Jon Jory, Mark Lamos, Gregory Mosher, Lisa Peterson, David Saint, Daniel Sullivan, and Mark Wing Davey.

AYANA WORKMAN (May Rufford) Off-Broadway: Romeo & Juliet, The Winters Tale (The Public Theater). Dos Worlds (Trinity Church). Macbeth (Masterfool Theater Company). Regional: Miss Bennet: Christmas at Pemberley (Cincinnati Playhouse in The Park), Romeo and Juliet (Shakespeare Theater Company). International: Julius Caesar at the Globe Theatre (London, England); Virtual Truth at Bunker Theatre (Ljubljana, Slovenia); and Guernica Contiuum at SNG Maribor (Maribor, Slovenia). TV: ‘Person of Interest.’ ‘Jessica Jones’. www.ayanaworkman.com

ARIELLE YODER (Lucy Griffin) Mint Theater Company: Debut! Broadway: The Humans First National Tour (u/s Aimee Blake, Brigid Blake). Off-Broadway: soot and spit. Regional: Sun Valley Shakespeare Festival: Shrew!

Shaker Bridge Theatre: The Mystery of Love and Sex. The Guthrie: Concrete Orange: An American Fable. PlayMakers Repertory Company: Three Sisters, Peter and the Starcatcher, 4,000 Miles, An Enemy of the People, A Midsummer Night’s Dream, Vanya and Sonia and Masha and Spike, Love Alone, The Tempest (u/s Ariel, Stephano), Metamorphoses. TV/Film: ‘Law & Order: SVU’. Arielle serves as the Co-Artistic Director of DreamStreet Theatre Company. arielleyoder.com | dreamstreetnyc.org JONATHAN BANK (Producing Artistic Director) has been the artistic director of Mint Theater Company since 1995, where he has unearthed and produced dozens of lost or neglected plays, many of which he has also directed.

Under Bank’s leadership the Mint has earned an

The Price international reputation as the source for highquality revivals of forgotten works and has become, in the words of The New York Times’ Jason Zinoman, “the leading New York entrepreneur” of the neglected play business. Terry Teachout of the Wall Street Journal described Jonathan Bank as “one of a handful of theater artists in America whose name is an absolute guarantee of quality.”

Bank spearheaded Mint’s ambitious Teresa Deevy Project, dedicated to reclaiming the lost voice of “one of the most undeservedly neglected and significant Irish playwrights of the 20th century”; directing The Suitcase Under the Bed, Katie Roche, Temporal Powers and Wife to James Whelan. Some favorite Mint productions include Yours Unfaithfully by Miles Malleson, The New Morality by Harold Chapin, Mary Broome

by Allan Monkhouse, Far and Wide by Arthur Schnitzler, Susan and God by Rachel Crothers, and Maurine Dallas Watkins’ So Help Me God! VICKI R. DAVIS (Sets) Previously for the Mint: The Suitcase Under the Bed, The Lucky One, Women Without Men, The Fatal Weakness, Katie Roche, Rutherford and Son, Temporal Powers, Wife to James Whelan, The Fifth Column, The Skin Game, The Lonely Way, Echoes of the War, Far and Wide, The Voysey Inheritance, Miss Lulu Bett, Welcome to our City, August Snow & Night Dance, and The House of Mirth. Off Broadway credits include projects for Adobe, AMAS, Blue Heron, HB Studio, Lincoln Center Director’s Lab, The Ontological, LaMaMa, Folksbiene, Henry Street Settlement, Kings County Shakespeare, Bronx Opera, Bel Canto Opera, Wings, WPA, Playhouse 91. Regional theater and opera companies include Laguna Playhouse, Arena Stage, The Alliance, Milwaukee Rep., Dallas Theater Center, Spooky Action, Starlight Kansas City, Madison Rep., The Barter, Capital Rep., Passages, Georgia Shakespeare, Utah Shakespearean Festival, Utah Opera, Kansas City Opera, Omaha Opera, Theatre of the Stars, Boston Lyric Opera, Lake George Opera Festival, Chester Theater, and Music Theater North. The recipient of a TCG/NEA Design Fellowship, she is a member of United Scenic Artists Local 829.

HUNTER KACZOROWSKI (Costumes) Thrilled to be back at the Mint where he previously designed Yours Unfaithfully (Hewes Award nom). Other New York credits include: The

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Gentleman Caller, The Dork Knight, Stet (Abingdon), HAM (Ars Nova), as well as Heartbeat Opera, The Public, Astoria Performing Arts Center, HERE Arts, Dixon Place, Joyce Soho.

Regional: six productions with Berkshire Theater Festival including: The Petrified Forest (dir.

David Auburn, Berkshire Critics Award nom), Arsenic and Old Lace, Design for Living. Other regional: The Fix (dir. Eric Schaeffer, Signature Theater), Oslo, Dear Elizabeth, A Doll’s House, Last of the Red Hot Lovers (Northern Stage), A Streetcar Named Desire (Yale Rep), How to Succeed in Business… (starring Frankie Grande, MSMT), Beauty and the Beast (Barrington), as well as Urban Arias, Yale Baroque Opera, Red House Theater, Kitchen Theatre, Millbrook Playhouse, Luna Stage. As Assistant: Angels in America (Broadway revival). MFA, Yale School of Drama. www.huntersk.com

CHRISTIAN DEANGELIS (Lights) is excited to be back at the Mint Theater and working with Jonathan Bank. Selected Design Credits: Insurrection, All My Sons (Arthur Miller Theatre, Ann Arbor, MI.); Mary Poppins (Village Theatre); Preludes (Firehouse Theatre Richmond Critics circle Nomination); Spamalot (5th Avenue Theatre); Days to Come, Hindle Wakes, The Fatal Weakness (Henry Hewes Design Award Nomination), The Lucky One, Philip Goes Forth, Love Goes To Press, The New Morality (Mint Theatre); Through the Night (City Theatre, PA. & Cincinnati Playhouse in the Park, OH.); Don Giovanni (Ash Lawn Opera); Dr. Jekyll & Mr. Hyde, The Brother’s Size (City Theatre, PA.); Lizzie Borden (Living Theatre, NY. Drama Desk Nomination); The Clean House, A Blessing of a Broken Heart (San Diego Rep); Pericles (Old Globe Theatre); Into the Woods, Boy Gets Girl, Trip to Bountiful, Pride & Prejudice, Arabian Nights, Junta High (VCU-Hodges Theatre).

Christian currently teaches at Virginia Commonwealth University in Richmond, Virginia.

JANE SHAW (Sound & Musical Arrangements) is delighted to design her thirtieth show with the Mint, with productions including Days to Come, Hindle Wakes, The Suitcase under the Bed, Women Without Men, London Wall, and The Fifth Column. New York credits include: Dead Are My People, (Noor); I was Most Alive with You, (Playwrights Horizons); Actually (MTC); Iron-

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bound (Women’s Project, Rattlestick). Regional credits: Cleveland Play House, Hartford Stage, Mark Taper Forum, Milwaukee Rep, Two River Theater, Denver Center, Triad Stage, Capital Rep, Northern Stage. Next: Vanity Fair (Shakespeare Theatre Company & ACT); They Promised Her the Moon (The Old Globe). Recognition: Bessie Award, Drama Desk, Connecticut Critics Circle Awards, Henry Award, Premios ACE 2012, Meet the Composer grant, Theatre Communication Group’s Career Development Program, and nominations for two Lortels, Henry Hewes and Elliot Norton awards. She was born in Kansas and lives in Brooklyn.

Theatre), Rappaccini’s Daughter ( Jim Henson Foundation’s Festival). Tracy received her MFA in Directing from Syracuse and is currently head of movement for the MFA acting program at UNC Chapel Hill and resident artist at Playmakers Rep. She is a member of the Stage Directors and Choreographers and a Drama League Fellow.

AMY STOLLER (Dialects & Dramaturgy) has been helping Mint casts suit words to actions for more than 20 years and 30 plays, most recently Days to Come, Conflict, and Hindle Wakes. Other recent stage productions are Little Rock (Sheen Center), and Tennessee Williams’s CHRIS FIELDS (Props) is so excited and A Lovely Sunday for Creve Coeur, directed by proud to be joining the Mint Theater again at Austin Pendleton. Recent screen work includes Theatre Row. Since last here he created props ‘Dietland’ (AMC) and the film version of Anna for Bedlam’s Uncle Romeo Vanya Juliet. He was Deavere Smith’s ‘Notes from the Field’ (HBO). previously Props Master at Shakespeare And Her next project with Ms. Smith is scheduled Co., Barrington Stage Company, Flat Rock later this season at New York Theatre WorkPlayhouse, Contemporary American Theater shop. www.stollersystem.com.

Festival, several Off-Broadway shows, and the DENNY DEMERIA (Assistant Director) musical Anna Karenina at Circle in the Square.

New York Acting Credits: The Shakespeare He was the Associate Props Master at the PubForum, ARTSNY, AMERINDA, Convergenlic Theater for several years. As a craftsperson he ces Theatre Collective, Fringe NYC, Hudson helped create the original costumes for The Lion Guild, Red Monkey Theatre, Antrim PlayKing and Beauty and the Beast, as well as the goat house. TV/Film: ‘The Perfect Murder’, ‘Not for the original production of Edward Albee’s Expecting’, Travel Channel, ‘The Forgotten The Goat, or who is Sylvia?. Among his proudKingdom’. Canada: National Ballet of Canada, est accomplishments is 6 arrests and an Obie Royal Winnipeg Ballet, Banff Center for Arts Award as a member of ACTUP (if you haven’t and Creativity, Walterdale Playhouse. Training: heard of them google it.) So much thanks to my Circle in the Square Theater School. Thanks to family and friends who make this crazy life in Roves, the Mint and Jedd. the theater possible.

TRACY BERSLEY (Choreographer) has cho- MAYA CANTU (Dramaturgical Advisor) reographed at Lincoln Center, Public, BAM, has worked on thirteen productions at the Lortel, Primary Stages, McCarter, William- Mint. Maya is on the Drama faculty at Benstown, Hudson Valley Shakespeare and many nington College, and received her D.F.A. in Off-Broadway companies, such as The Civil- Dramaturgy and Dramatic Criticism at Yale ians, The Acting Company and Red Bull The- School of Drama. As a dramaturg, Maya has atre. As a professor/guest artist, she has worked also worked on productions at Yale Repertory at Yale School of Drama, NYU, Juilliard, Pur- Theatre and Yale Summer Cabaret, and with chase, Columbia/Barnard, and Princeton. Tra- Dorset Theatre Festival. Her academic writcy also specializes in movement-based theater ing has appeared in Studies in Musical Theatre, and has adapted, directed, and choreographed New England Theatre Journal, Theatre Journal, many stories including: Alice in Wonderland and The Palgrave Handbook of Musical Theatre (Dorset Theater Festival), The House on Mango Producers, among others. She is the author of Street (Syracuse Stage), Tibet: Through the Red the book, American Cinderellas on the Broadway Box (HERE/Lincoln Center Director’s Lab), Musical Stage: Imagining the Working Girl from The Awful Rowing Toward God (Ontological Irene to Gypsy (Palgrave Macmillan, 2015).

The Price ROB REESE (Production Manager), is a Production Manager at large working for such theater companies as the Mint Theater Company, Classic Stage Company, and Bay Street Theater.

Rob is also a Director and Writer of plays, operas, and musicals including Miranda (HERE, Winner of the Innovative Theater Award for Outstanding Musical), Yahweh’s Follies (ARS NOVA “Godspell for a new millennium”) and Keanu Reeves Saves the Universe (The Sci-Fi Parody Adventure EVER!). Reese is currently Directing the “one man show” genre piece: Befuddled 101: Guaranteed life-hacks for sanity and survival in this troubled time (no refunds) at The Brick Theater beginning 2/7/19. Rob Reese is a member of the Indie Theater Hall of Fame.

JEFF MEYERS (Production Stage Manager) was in a play once. He played the “Captain” in the Grand Junction, Colorado, high school production of Carousel. He then turned to stage management. He is very pleased to be continuing his collaboration with Mr. Bank having previously worked on nine Mint productions including Conflict, Hindle Wakes, Fashions For Men and Earnest Hemingway’s The Fifth Column. His New York highlights also include Beyond Therapy and Happy Birthday (TACT), Painting Churches and Marry Me A Little (Keen Company), Amazons And Their Men (Clubbed Thumb), Orange Flower Water and Adam Rapp’s Stone Cold Dead Serious (Edge Theater Company), Hamlet (CSC), Critical Darling (The New Group) and Greg Kotis’ Eat The Taste (Barrow St. Theatre). Regional highlights include, ten summer seasons with The Theater at Monmouth and The Underpants (Two River Theater Company). His union of choice is AEA, and he dedicates this and every performance to his Mom and Dad.

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STEPHANIE KLAPPER, (Casting)’s work is often seen on Broadway, Off-Broadway, regionally, internationally, on television and film. Theatre companies include Mint Theater Company, Primary Stages, New York Classical Theatre, Hudson Valley Shakespeare Company, Masterworks, and Resonance Ensemble. Recent projects include: The Importance of Being Earnest; Maverick; Actually We’re F…ed; Daniel’s Husband; Final Follies; Days to Come; A Lovely Sunday for Creve Coeur; The Saintliness of Margery Kemp; Romeo and Juliet; A Letter to Harvey Milk; Red Roses, Green Gold; Pride and Prejudice (Kate Hamill); Hindle Wakes;The Mecca Tales; Westside Story (Philadelphia Orchestra); Epiphany V (film). Member: Casting Society of America.

DAVID GERSTEN & ASSOC. (Press Representatives) has served as press representatives and marketing consultants on Broadway and off for over 25 years. In addition to Mint Theater (24 years!), current clients include several notfor profit theatres including Ensemble for the Romantic Century, Gingold Theatrical Group/ Project Shaw, Godlight Theatre Company, INTAR, Keen Company, NAATCO and Red Bull Theater, among others. David serves on the Board of Governors of ATPAM, the Association of Theatrical Press Agents & Managers.

More? Visit DavidGersten.com.

ACTORS EQUITY ASSOCIATION (“Equity”), founded in 1913, is the U.S. labor union that represents more than 51,000 professional Actors and Stage Managers. Equity fosters the art of live theatre as an essential component of society and advances the careers of its members by negotiating wages, improving working conditions and providing a wide range of benefits, including health and pension plans. Actors’ Equity is a member of the AFL-CIOand is affiliKRISTI HESS (Stage Manager) Broad- ated with FIA, an international organization of way: American Son, The Humans, Blackbird, performing arts unions. Equity is governed by Hello, Dolly!, The Cherry Orchard, The Audi- its own members through an elected Council, ence. Off-Broadway: Light Shining in Bucking- representing principal actors, chorus actors and hamshire (NYTW), Too Heavy For Your Pock- stage managers living in three regions: Eastern, et (Roundabout), Days to Come (Mint), Dis- Central and Western. Members at large particicord (Primary Stages), Engagements (Second pate in Equity’s governance through a system Stage), The Humans (Roundabout). Psalm of regional Boards and Committees. Equity has 18:30.

28 designated area liaison cities with over 100 members each.

biographies T h e

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MINT THEATER COMPANY finds and produces worthwhile plays from the past that have been lost or forgotten. It is our mission to create new life for these plays through research, dramaturgy, production, publication, readings and a variety of enrichment programs.

Under the leadership of Jonathan Bank as Producing Artistic Director, Mint has secured a place in the crowded theatrical landscape of New York City. We have received Special Obie and Drama Desk Awards recognizing the importance of our mission and our success in fulfilling it. Terry Teachout of The Wall Street Journal writes that the Mint has a “a near-perfect track record of exhuming forgotten plays of the previous century that deserve a happier fate.”

Our process of excavation, reclamation and preservation makes an important contribution to the art form and its enthusiasts. Scholars have the chance to come into contact with historically significant work that they’ve studied on the page but never experienced on the stage. Local theatergoers have the opportunity to see plays that would otherwise be unavailable to them, while theatergoers elsewhere may also have that opportunity in productions inspired by our success.

Important plays with valuable lessons to teach—plays that have been discarded or

ST ITY FIRO R I R P UB CL

ignored—are now read, studied, performed, discussed, written about and enjoyed as a result of our work.

Sharing with our audience the context in which a play was originally created and how it was first received is an essential part of what we do. Our “EnrichMINT Events” enhance the experience of our audience and help to foster an ongoing dialogue around a play. These post-performance discussions feature world class scholars discussing complex topics in an accessible way and are always free and open to the general public. Our “Further Readings” program—an ongoing series of concertstyle play readings—offers our audience an opportunity to delve deeper into the work of some of our favorite playwrights.

We not only produce lost plays, but we are also their advocates. We publish our work and distribute our books, free of charge to libraries, theaters and universities. Our catalog of books now includes an anthology of seven plays entitled Worthy but Neglected: Plays of the Mint Theater plus five volumes in our Reclaimed series, each featuring the work of a single author: Teresa Deevy, Harley Granville Barker, St. John Hankin and Arthur Schnitzler.

JOIN THE CLUB!

A tax-deductible contribution of $250 or more makes you a member of our First Priority Club, ensuring you get the best seats at the lowest price.

Whatever you choose to give will be greatly appreciated and will help us to continue to bring you great lost and forgotten plays.

For more information, visit the InvestMINT page at MintTheater.org, or call 212.315.0231.

The Price

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staff

Mint Theater Company Board of Trustees Gretchen Adkins

John P. Harrington

Mary Crawford

Kathryn Swintek

Jonathan Bank

Brian Heidtke

Bob Donnalley

John Yarmick

In Memoriam

Ciro A. Gamboni

Mint Staff

Production Staff

Producing Artistic Director . . . . Jonathan Bank Master Carpenter . . . . . . . . . . . Carlo Adinolfi Asst. Costume Designer . . . . . . Elivia Bovenzi Assoc. Producer . . . . . Rebecca Nell Robertson Asst. Lighting Designer . . . . . Emma Sheehan Marketing & Devo. Assoc . . . . . . Karina Mena Technical Director . . . . . . . . . . Abbigale Walsh Management Associate . . . . . Lindsay Warnick Master Electrician . . . . . . . . . . . . . . Erin Jones Interns . . . . . . . . . Jada Jackson, Sydney Parker Audio Head . . . . . . . . . . . . . . . Kevin Novinsky Financial Services . . . . . . . Nellis Mgt. Services Andrea Nellis & Lucy Mallett Board Operator . . . . . . . . . . . . . Jim Armstrong Wardrobe Supervisors . . . . Christina Limerick, Dramaturgical Advisor . . . . . . . . . Maya Cantu Meg Glassco, Videographer . . . . . . . . . . . . . . . Mike LoBello Prod. & Props Asst . . . . . . . . . . Paul Birtwistle Advertising & Website Design . . . . The Pekoe Production Asst . . . . . . . . . . . Margaret Yassky Group: Amanda Pekoe & Jason K. Murray Asst. Director . . . . . . . . . . . . . Denny Demeria Publicity . . . . . . . . . . . David Gersten & Assoc Assts. to the Lighting Desginer . . Sreypech An, Maya Kotto David J. Gersten, Daniel DeMello Auditor . . . . . . . . . . Lutz & Carr, CPA’s, LLP Casting Asst . . . . Lacey Davies, Leah Shapiro Asst. to SKC ���������������������������Caitelin McCoy House Manager . . . . . . . . . . . Lindsay Warnick Special Thanks Erika Feldman and Shawn Murphy of Theatre Row. Program Lighting equipment provided in part by the ETC Corporate Giving Equipment Grant and the Technical Upgrade Project of the Alliance of Resident Theaters/New York through the generous support of the New York City Council and the City of New York Department of Cultural Affairs.

Mint Theater Company wishes to thank the TDF Costume Collection, Caroline Cook, Erin Miller-Todd, Tom McAlister, Alexander Woodward, Adrienne Perry, Diego Vasquez, The Guthrie Theater, Materials for the Arts, Kate Dale, Josh Hackett Jes Nelson and the Juilliard School, Luke McDonough and the Public Theater, City Knickerbocker, Inc. Lighting, Linda Yue and all at Beethoven Pianos: beethovenpianos.com (NYC). Ellis Cousens, Jamie and Ron Prentki, Laura Jo Kauffmann, Chambliss Giobbi and Laine Valentino, The Lucille Lortel Foundation Fellowships in Theatre, Adrian White, Meredith Lynsey Schade, Ashley DiGiorgi, Kenny Bell and West Bank Cafe, Roseanne, Roger, and Michael La Barres, Denny Demeria and Kristi Hess for their invaluable assistance with our dancing.

The following generous Individuals, Foundations, & Corporations support the Mint Theater, and we honor their contributions:

Crème de la Crème: $25,000 and above

ChocolateMint: $2,500 - $4,999

Anonymous Estate of Irving B. Fine Estate if Ciro A. Gamboni Howard Gilman Fdn The Andrew W. Mellon Fdn New York City Department of Cultural Affairs Royal Little Family Fdn The Shubert Fdn, Inc. The Ted Snowdon Fdn

Anonymous 42nd St. Development Corp.

David & Kim Adler Kenneth & Carole Boudreaux Jennifer & Greg Ezring Jon Clark & Ryan Franco William Downey Nicholas & Edmée Firth Mr. & Mrs. Edward W. Franklin Christopher Joy &

Cathy Velenchik J.A. Kedziora Kaori Kitao The Dorothy Loudon Fdn Dorinda Oliver Mr. Pancks’ Fund The Petros K. & Marina T.

Sabatacakis Fdn Susan & Zachary Shimer David Stenn Michael Thomas Stagedoor Manor Mary Ellen &

Karl von der Heyden Jivan Wolf

Crème de Mint: $10,000 - $24,999 Anonymous The Achelis & Bodman Fdn Barbara Bell Cumming Fdn Virginia Brody Cory & Bob Donnalley

Charitable Fdn Richard Forstmann The Fan Fox & Leslie R.

Samuels Fdn Marta Heflin Fdn The Heidtke Fdn Gail P. Gamboni Rebecca Kaplan Lucille Lortel Fdn New York State Council

on the Arts The Harold & Mimi

Steinberg Charitable Trust Geraldine Stutz Trust, Inc. Michael Tuch Fdn John Yarmick

SilverMint: $5,000 to $9,999 Gretchen Adkins Axe-Houghton Fdn Robert Brenner Mary & Bruce Crawford Johanna & Leslie Garfield Agnes & Emilio Gautier John & Janet Harrington Gemzel Hernandez Martinez M.D. Sandra & David Joys David L. Klein, Jr. Fdn Gladys Krieble Delmas Fdn Blanche & Irving Laurie Fdn Elaine & Richard Montag Lorna H. Power Jerome Robbins Fdn Wallace Schroeder Dorothy Strelsin Fdn Sukenik Family Fdn Dennis & Katharine Swanson Kathryn Swintek

SpearMint: $1,500 - $2,499 Judith Aisen & Kenneth Vittor Joseph Bell

& Peter Longo Lois Burke Suzan & Fred Ehrman Barbara Farrar & Tom Evans Ruth Friendly Roberta Jones Roselle & Brian Kaltner Sally & Wynn Kramarsky The Lambs Fdn Sandra & Jonathan Landers John David Metcalfe Frederick Meyer John Smith,

in honor of my wonderful

friend Mal Bank Charles Sperling Sarah Billinghurst Solomon Stella Strazdas

& Henry Forrest J. Michael Thomas

PepperMint: $750 - $1,499 Anonymous Actors’ Equity Fdn Louise L. Arias Barbara Berliner

& Sol Rymer

John H. & Penelope P. Biggs Ann M. Butera Alice B. Cannon-Perkins C.L. Christensen Pamela Coker

& John Walls Peggy Correa Ann DeInnocentiis Douglas & Diana Dooley Joan Drelich Catherine N. Dugan Pat DeRousie-Webb

& Rob Webb Marjorie Ellenbogen Judith Eschweiler Quince Evans Gary Giardina Jane & Charles Goldman Barbara Gottlieb George & Antonia Grumbach Lanie Hadden Hickrill Fdn Louise Kerz Hirschfeld Linda Irenegreene

& Martin Kesselman Bill & Margaret Kable Frank Lenti Claire Lieberwitz

& Arthur Grayzel, MD Douglas Liebhafsky

& Wendy Gimbel Charlene & Gary MacDougal Vivian Majeski Margaret P. Mautner Martin & Maude Meisel Doreen S. Morales George Morfogen Joseph Morello Saleem & Jane Muqaddam George Robb Stephanie & Robert Olmsted James J. Periconi Richard Robilotti Donna & Ben Rosen Mark Rossier Mary & Winthrop Rutherfurd Drs. Carole M. Shaffer-Koros & Robert M. Koros Charles Sperling Alec Stais & Elissa Burke Susan Stockton M. Elisabeth Swerz Elaine Taylor-Gordon Susan & Charles Tribbitt Helen S. Tucker,

The Gramercy Park Fdn Hilda Wenig & Lisa Renz Mary & John Wight Steven Williford Elaine Yaffe

supporters DoubleMint $250 - $749 Anonymous (9) Barbara & Alan Abrams Dr. Albert Leizman

& Ann Harte Jade Albert Louis Alexander Dean Alfange Steven Allen

& Caroline Thompson Linda & Lloyd Alterman Laura Altschuler Carmen Anthony Jordan Baker & Kevin Kilner Stacy Banks & Scott Balogh Judith E. Barlow Mary L. Baskett Helen Hadjiyannakis Bender Muriel Bermar Al Berr Nidia Besso Clint Best Peter & Helena Bienstock Judith Bihaly Gene & Joann Bissell Steven Blier

& James S. Russell Allison Blinken Julian & Zelda Block Ronald Blumer

& Muffie Meyer Dr. & Mrs. Jeffrey Borer Joan & Seymour Boyers Alice Boyle Nathan Brandt Steven Brauser Michael Brecher

& Karen Shatzkin Charles &

Rosemary Brennan Deb Brockway Melinda Bush Albert Butzel Catherine Cahill & William Bernhard Peter Cameron Fairfid M. Caudle Aurelie Cavallaro Elinor Ceresney Russell Charlton &

Julie Norwell Lynne Charnay Carolyn Chave

& Robert Hand Gwin Joh Chin Stephen & Elena Chopek Mervyn Clay Steven Coe Toni Coffee Ira Cohen Julie Cushing Connelly Dennis Consumano &

Cynthia Appelblatt Penelope & Peter Costigan Audrey & Fergus Coughlan Marina Couloucoundis

Tandy Cronyn Leslie Crossley Michael Crowley John & Ellen Curtis George & Susan Crow Cynthia Darlow

& Richard Ferrone Sue & Stuart Davidson Denny Denniston

& Christine Thomas Carolyn Demarest Francisco Diaz Katherine & Bernard Dick Ruth & Robert Diefenbach Thomas A. Dieterich Nancy M. Donahue Caroline Donhauser Suzanne Dowling Jeffrey Dubiner James Duffy Emily Dunlap Don & Sheila Dunphy Kim & William Eckstrom Monte Engler

& Joan Mannion Ellen & Fred Epstein Elen & Frank Estes H. Read Evans Linda Feinstone Howard Feldman William Finkelstein Angela T. Fiore Dena & John Fisher James Fleckenstein

& Lori Hiatt Eva & Norman Fleischer Charles Forma Rose Forman Carol & Burke Fossee Jeffrey & Diana Frank Roger & Patricia Friedman Dr. Barbara Gaims-Spiegel

& Robert M. Spiegel Dina Gamboni in loving

memory of my father

Ciro Gamboni Eugene Gantzhorn Nicholas Garaufis

& Betsy Seidman Michael Garber Peter Gates Mary J. Geissman Marion & Whitney Gerard Virgina Gerst Susan & David Gerstein Suellen & David Globus Betty & Joshua Goldberg Margaret L. Goodman Minette Gorelik Stanley Gotlin

& Barry Waldorf Susan & Marc Gottridge Gordon Gould Anna Grabarits Bruce & Diane Gregory Arnold H. Grossman Stephanie W. Guest Carol & Steven Gutman

Gunilla Haac Dr. Ronald & Maria Hagadus Robert Hall Bernard & Shirley Handel John Hargraves

& Nancy Newcomb Janet Hariton Delphi Harrington Cynthia Harris Alvan & Joan Harrison Stephen Hauge Ellen Hayden Charles Hayman Henry Hecht

& Sally Wasserman Carol Hekimian Reily Hendrickson Michael Herko Gabor Herman Sigrid Hess Barbara Hill Linda & George Hiltzik Louise Hirschfeld & Lewis B. Cullman Alan Hirsh Eleanor Hodges Carol Hoffman Heather & Bruce Horner Harriet & Elihu Inselbuch Josephine Lea Iselin Jocelyn Jacknis James W. Jackson Susan & Stephen Jeffries Wendy & David Johnston Joseph Family Char. Trust Gerhard Joseph Virginia Josephian Gregory & Mary Juedes Peter Haring Judd Fund Dawn Kafcos Gus Kaikkonen

& Kraig Swartz Greg & Karin Kayne R.S. Kayne & C.M. Pyle James Kelly

& Lisa Hendricksson Laurie Kennedy David & Kathleen Kinne James J. Kolb Marlene & Gerald Kolbert Harold Kooden &

John Hunter Phil Koopman Sarah & Victor Kovner Anna Kramarsky

& Jeanne Bergman Mildred Kuner Carmel Kuperman Saul Kupferberg Julie Laitin Dennis Lalli David & Mary Lambert William & Robert Lang Gordon Leavitt Ira Leeds Laura & Rodney Leinberger David Lerner

& Lorren Erstad

supporters Jay Lesenger Mary Linda Levine Cathie Levine & Josh Isay Carol & Stanley Levy Eva Lichtenberg

& Arnold Tobin Joe Lombardi

& David Koch Lois & William Long Daniel & Sharon Lowenstein Mary & Boyd Lowry Joan M. Lufrano Bette Lyons Paul Lubetkin

& Joyce Gordon Mary & Edward Maguire Mary Rose Main Jane Majeski Sharyn & Stephen Mann Barbara Manning Florence Mannion Christina & Robert Mantz Jean & Robert Markley Jacqueline Maskey Eileen Mason Michael Massimilla Lorraine Matys Cheryl & Harris May Doris & David May Pamela Mazur, PhD Patricia A. McCormack Carolyn McGuire Robert McLaughlin

& Sally Parry Joan & John Mendenhall Leonard & Ellen Milberg Lusia & Bernard Milch Stephanie Miller Susan & Joel Mindel Ann Miner Frank Morra Elaine & Ronald Morris John & Michelle Morris Georgia & Mark Munsell Martin & Lucy Murray Virg & Bob Nahas Daniel Napolitano Louise Neville Peter & Susan Nitze Alexa Shae Niziak William Nolan Greenway O’Dea Modest & Linda Oprysko Janice Oresman Colleen Orsatti Frances Pandolfi Jeanine Parisier Plottel Tom Phillips Isaac Pollak Mary & Larry Pollack Lynn Poole Gary Portadin

& Marie Dinolan Georgette & David Preston Robert & Carlo Prinsky Robert A. Pugsley

Judith Quillard Richard & Dana Reimer Susan & Peter Ralston Teresa Ranellone Linda Ray Joe Regan Cordelia & David Reimers Eleanor Reissa Tom Repasch David Richter Peter Robbins

& Paige Sargisson Brian Rohman & Peggy Herzog Robert & Rhoda Roper Linda Rose Saul Rosenthal Charles & Meryl Rubin Marcia & Michael Rubin William Rumancik

& Paul Cowan Lynn & Thomas Russo Richard Safran Kathy Salem Rosemarie & Lou Salvatore Corrine Samios Jacqueline Sandler Mary Ann Scaggs Catherine Scaillier Judy & Dick Schachter Archer Scherl Caroline Schimmel Daphne Schwab Marilyn & Joseph Schwartz Robert Secor David Seifman

& Kathy Legg Jim & Ann Settel Dimitri Sevastopoulo Ronald Shaw George & Marjorie Shea Richard & Camille Sheely Janet & Joseph Sherman Robert Shivers Helen Shufro Shelley & Joel Siegel Linda Silberman Marion Simon James & Daisy Sinclair Adrianne & David Singer Frank Skillern Janet & Mike Slosberg Anthony Smith & Patricia Bettin Smith Barbara Madsen Smith Bernice Smith Hope Sobie Barbara & Stanley Solomon Sandra & Graham Spanier Shondell & Ed Spiegel Martha S. Sproule Sherry & Bob Steinberg Mary K. & Gary Stern Kipp & Lauren Stevens Amy Stoller Elaine Strauss

Melissa & Gabriel Struck Eve Stuart Pamela Stubing Joseph Sturkey Dr. Larry E. Sullivan Will & Carol Sullivan Jean Swintek, in honor of

Kathryn Swintek Carol Tambor

& Kent Lawson Douglas G. Tarr Brinton Taylor & Francis C. Parson Jr. Madeline Taylor Anne Teshima Deborah & Craig Thompson Joan & Jack Thorne Janet & Udi Toledano Lee Toole & Kimiko Otsuka Stan & Madelene Towne Linda & Ken Treitel Evelyn Mack Truitt Martha Van Hise Jean-Francois Vilain &

Roger Wieck Anthony & Elaine Viola Lise Vogel Joan & Bob Volin Robert & Janet Wagner Daniel & Judith Walkowitz John Michael Walsh Steven Warshawsky

& Kim Ruska Kevin & D.G. Weber-Duffy Donna Welensky Patricia & Richard White Anita & Byron Wien Robert & Lillian Williams Constance Wingate Frank Wolf &

Stephen Abel Trudy Wood

& Jacob Goldberg Daniel Marshall Wood Diana Zoltick Donald & Barbara Zucker Mary Zulack

& Peter Belmont Burton & Sue Zwick

This list represents donations made by January 1, 2019.

Every effort is made to ensure its accuracy; please notify us if we have made a mistake.

Nonprofit Building for the Arts presents vibrant arts initiatives to communities and neighborhoods in New York and other U.S. cities, making it possible for people and places to achieve their greatest potential.

Theatre Row serves as an affordable home in the heart of the Theater District for performing arts organizations and a lively, accessible venue for diverse audiences.

Over 165,000 patrons come to Theatre Row each year.

Building for the Arts’ other signature project—Music and the Brain—brings music literacy curriculum and classroom keyboard instruction to schools with underserved students.

Learn more about Building for the Arts and our initiatives at www.bfany.org.

BUILDING FOR THE ARTS BOARD OF DIRECTORS

THEATRE ROW STAFF

Jeffrey A. Horwitz, Chair Carmen Bowser, Vice Chair Daniel Biederman, Treasurer Zachary Smith, Secretary Kevin Alger Andy Hamingson Miriam Harris William J. Maloney Melissa Pianko Wendy Rowden Joyce Storm

Erika Feldman

BUILDING FOR THE ARTS EXECUTIVE TEAM President

Wendy Rowden Chief finanCial OffiCer

Bruce Levine

General ManaGer assOCiate General ManaGer

Shawn Murphy

teChniCal direCtOr

Keith Adams

assistant teChniCal direCtOrs

Colin Colford, Sean Jones, Chris Phan, Matthew Sells

BOx OffiCe ManaGer

Kelsey Kennedy

BOx OffiCe staff

Taurice Artis, Sara Christopher, Amanda Finch, Kristin Heckler, Kiley McDonald, Kelly Webb hOuse ManaGer

Jack Donoghue

studiO ManaGer

Scott Pegg

In the event of fire, please proceed quietly to the nearest exit. Exits are located where you entered the theater complex.

The use of cameras and other recording devices in this theater is prohibited by law.

There is no smoking anywhere in this theater or in the theater complex, including, lobby, stairways and restrooms.

This presentation is not a Theatre Row or Building for the Arts NY, Inc. production, nor does its presentation in this theater imply approval or sanction by either Theatre Row or Building for the Arts.

Mint Production History Days to Come, 2018

By Lillian Hellman

Conflict, 2018

By Miles Malleson

Hindle Wakes, 2018

By Stanley Houghton

The Suitcase Under the Bed, 2017

Temporal Powers, 2011

Echoes of the War, 2004

A Little Journey, 2011

Milne at the Mint, 2004

What the Public Wants, 2011

Far and Wide, 2003

By Teresa Deevy

By Rachel Crothers

By Arnold Bennett

Wife to James Whelan, 2010

By Teresa Deevy

By Teresa Deevy

Doctor Knock, 2010

By A.A. Milne

So Help Me God!, 2009

The Lucky One, 2017 Yours Unfaithfully, 2017

By Miles Malleson

A Day by the Sea, 2016

By N.C. Hunter

Women Without Men, 2016

By Hazel Ellis

By Jules Romains

By Maurine Dallas Watkins

Is Life Worth Living?, 2009

By Lennox Robinson

The Widowing of Mrs. Holroyd, 2009

By D.H. Lawrence

The New Morality, 2015

The Glass Cage, 2008

Fashions for Men, 2015

The Fifth Column, 2008

The Fatal Weakness, 2014

The Power of Darkness, 2007

Donogoo, 2014

The Return of the Prodigal, 2007

By Harold Chapin

By Ferenc Molnár

By George Kelly

By Jules Romains

London Wall, 2014

By John Van Druten

Philip Goes Forth, 2013

By George Kelly

A Picture of Autumn, 2013

By N.C. Hunter

Katie Roche, 2013

By Teresa Deevy

Mary Broome, 2012

By Allan Monkhouse

Love Goes to Press, 2012

By Martha Gellhorn & Virginia Cowles

Rutherford & Son, 2012

By Githa Sowerby

By J.B. Priestley

By Ernest Hemingway

By Leo Tolstoy

By St. John Hankin

The Madras House, 2007

By Harley Granville-Barker

John Ferguson, 2006

By St. John Ervine

Susan and God, 2006

By Rachel Crothers

Soldier’s Wife, 2006

By J.M. Barrie

Two Plays by A.A. Milne

By Arthur Schnitzler

The Daughter-In-Law, 2003

By D.H. Lawrence

The Charity That Began at Home, 2002

By St. John Hankin

No Time for Comedy, 2002

By S.N. Behrman

Rutherford & Son, 2001

By Githa Sowerby

Diana of Dobson’s, 2001

By Cicely Hamilton

The Flattering Word & A Farewell to the Theater, 2000

By George Kelly & Harley Granville-Barker

Welcome to Our City, 2000

By Thomas Wolfe

Miss Lulu Bett, 2000

By Zona Gale

The Voysey Inheritance, 1999

By Harley Granville-Barker

Alison’s House, 1999

By Susan Glaspell

The House of Mirth, 1998

By Edith Wharton & Clyde Fitch

By Rose Franken

Mr. Pim Passes By, 1997

Walking Down Broadway, 2005

Uncle Tom’s Cabin, 1997

By Dawn Powell

The Skin Game, 2005

By John Galsworthy

The Lonely Way, 2005

By Arthur Schnitzler

By A.A. Milne

By George Aiken

Quality Street, 1995

By J.M. Barrie